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With this first poem treating the subject of the nativity of Christ, Milton is able implicitly to announce something like his own nativity as a poet.
因为它的主题是基督诞生，弥尔顿能够含蓄的宣告一些东西,比如他作为一个诗人从此诞生了。
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So this is Levi-Strauss' argument, and Derrida is interested in it because he recognizes its affinity with his own hesitation in talking about events, births, emergence and so on.
这就是列维，施特劳斯的论点，而德里达对此感兴趣是因为他意识到它与自己的犹豫类同,他在谈论语言的发展，诞生和危机等东西时的犹豫。
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as we've seen, establishing a fiction that works to place himself at the scene of a nativity that obviously occurs 1600 years and change before his own birth.
我们也看到了，他创建了一个虚构的景象,把自己放进了基督诞生的幻景中,而这些比他出生早1600年发生并不断在改变。
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He doesn't emerge from a preexisting realm. He has no divine siblings.
他不从先前存在的某个领域里诞生，他没有神族的兄弟姐妹。
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But we can only remember, he thinks, in the relevant way if our soul existed before the birth of our body, before the creation of our body.
但是我们之前知道,他认为我们的灵魂,存在于我们的身体诞生之前,在我们的身体被创造之前
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He is also saying that the birth of Christ in Bethlehem was a nightmare for the world it altered, the world that it changed utterly a change that Yeats sees as the end now of the Christian Era and not its fulfillment.
他还说,基督在伯利恒的诞生,是一个噩梦，因为世界因此改变，彻底变了,叶芝把这个改变,看作基督时代的终结,而不是它的圆满。
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He was born in the northern part of Greece, in a city called Stagira, which is part of what is now called Macedonia.
他诞生于希腊北部，一座名为，Stagira，的城市，即现在的马其顿。
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His contemporaries are doing a kind of thing with their representation of the birth of Christ that Milton seems carefully to have avoided.
他的同龄人都在描述基督的诞生,而这正是弥尔顿极力避免的。
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There's no theology, no account of his birth.
没有关于他诞生的宗教解释和描述。
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As soon as Milton describes for us the events in heaven that lead up to the Nativity, he begins the this is the prelude of the poem, it's broken up in to two chunks: the prelude and then what Milton calls the hymn he begins the third stanza of the prelude to his poem with a plea to the Heavenly Muse for inspiration.
弥尔顿一给我们描述引导基督诞生的天堂的事情,他就开始描述,这就是诗歌的开端，分为两部分：,这个开端还有弥尔顿称之为颂歌的部分,他开篇的第三段用了,对天国的缪斯寻求创作灵感的请愿。
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